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| Hela in Ballroom of the Plaza. 
_ For the first time in thirty-four years 
‘the American. Art Association has had to| 
‘desert’ Chickering and Mendelssohn halls 
‘to conduct one of its famous picture 
‘sales, for ever since 1878 Thomas E. Kirby | 
has been holding the association’s sales 
Of paintings in first one and then the 
‘other of these auditoriums, whose memo- 
ries are chiefly musical. In common with 
all the former tenants’ of Mendelssohn |} 
‘Hall, the auctioneer had to find other| 
ea and ‘selected the ballroom of 


‘the Hotel Plaza as the place of the sea- | 
‘s0n’s sales of paintings, the opening one | 
‘of which took place last night. This. was) 


‘the first session of the sale of the pic-. 
‘tures belonging to. Herman Schaus and 
ided seventy-tour water colors and 
awings. by modern European artists 
t realized a total of $11,232.50. 

Fee y = So jon haa of Sty ene 
@s8 marking the beginning of an epoch in) 
the history of art in New York. rather 
han for either the quality of the pictures | 
sold or the prices they brought. The ac- 
leustomed cream and pale green aud{to-— 
rium of the Fortieth street hall, with its: 
mural paintings by Blum, were replaced. 
by the white-and-gold decorations of the) 
Plaza ballroom, with gilded chairs and 
high-hung dusky boxes. Even the auc- 
Ationeer had changed his place from the 
lefty and) is, a ot the stage to the 

Ni) 


a 


, and his dull brown desk, with its 
hic sounding board, struck an archaic 
‘note in the luxurious surroundings, te 
' The first pictures offered were five small! 
pencil drawings by Rosa ‘Bonheur that 
only brought from $10 to $32.50 each, the! 
highest priced one being a study of a 
“Meadow with Horses.’ Three drawings, 
‘by Jules Dupre were placed on the easel, 
and in spite of their prime quality 
brought only $65, $45 and $70 each. The 
bids kept downto $5, with not many, 


humber in the catalogue was put up. It) 


Went to $625 before it was knocked down! 
to A. B. Johhson, A’ small but charac- 
‘teristic Isreals,. ‘‘Mother and Baby,’’) 
Caused the first lively bidding of the 
evening, and it»was run up quickly to 
$925, Peter W. Rouss. getting it at that 
figure. The second Israels, ‘‘Washing 
‘Day,’? went to the same buyer for $700 
M, Knoedler & Co. gave $1,150 for Jako 
| Maris’s ‘A View of Delft.’”’ this bein 
the highest price of the night. The sam 
firm. bought Willem Maris’s ‘“‘Ducks an 
Ducklings” for’ $710; Arthur Tooth & Song 
‘gave $800 for Blommers’s '‘Minding Baby” 
Fred A. Ames. paid $600 for ‘‘Degel-Nor, 
{:' way,” by .Thaulow, and Captain J. R. D 
Lamar paid $120 and $270 for two wate 
eolors by Signorini,.. The sale Se oh 
to-night and to-morrow night in the sam 
iplace, when the more important oil paint; 
ings will be offered. : 

: sa } 


of them at that, until the thirty-fifth | 


Was Clays'’s ‘‘Calme sur L’Escaut,” and] | 


‘Thomas E. Kirby of the American Art 
Association upon the order of the executors 
of the estate of the late Hermann Schaus| 
‘These comprised the collection of water. 
‘colors included in the Schaus galleries, 
with a few pencil drawings and pastels. 
Spee 
= Wi 4 
‘of the ye netnan ve 
‘TPwenty-t 


paid $1, 
8, 


Paul Jean Clays; 


Josef Israéls; $925, 

__ 116—“Washine Day,” sa ' 

FUE THU pele fhues saris gn sy 

"View of Delft," J ris: 

“Knoedler & Go. yekob Maris; ‘$1,150, by, 
120—“Amsterdam,” 


Paul n Olays; § 
George B. Horst. By Heer Wave: $098). by 
133—"Minding Baby,” 


| Bernardu nae 
| $800, by Tooth & Sons. 8. Blommers; 


|. 135—"Ducks .and Ducklings,” is 
| $710, by Knoedler & Co. x sue pnb 
Francols Ter Meulen; 


het ncn 

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Works of Modern Mas- 


| 

i hs 

_ ‘ters Takes Place in Plaza Hotel, 
lay New York, 


‘HIGHEST PRICE PAID, $18,900. 


‘Domestic Troubles,’? by Josef Isra- 
els, Goes to Messrs. Wallace 
and Sons, London. 
Se 


[BY COMMERCIAL CABLE TO THE HERALD.] 
New Yorx, Thursday.—The second 


_day’s sale of the Hermann Schaus collec- 


\ tion of oil paintings. by modern masters 
took place in the ballroom of the Plaza 
Hotel yestetday. Following are some | 
of the notable pictures sold, with oat 


{ 


) names oftheir purchasers and the prices | 
}j paid c=" 
| - Von Lenbach, portrait of Bismarck, 


| 
. 


| Ziem, 


$3,600, to Mr. Theodore Heinemann. 


of Place St. 


“Tnundation 


| Mare,” $3,500, to M. Georges Petit 


{ 


| 
| 


} 
! 
\ 
t 


Ziem, ‘‘Sunset over Cadore,”’ $1,125, 


| to Mr. P. W. Roass. 


Von Uhde, ‘‘The Flight,’ $1,800, to 
Mr. Heinemann. 

Flameng, ‘‘With Bonaparte in Italy,” 
$1,650, to M. Bernet. 

Josef Israels, ‘‘Domestic Troubles,” 
$13,900, to Messrs. Wallace and Sons, of 
London (the highest price paid at the 
sale). 

William Maris, ‘‘Geese and Goslings,”’ 
$2,900, to Mr. V. W. Seaman. 

Jacob Maris, ‘‘On the Shore at Sche- 
veningen,” $3,400, to Messrs. Knoedler | 
and Co. 

Ziem, ‘Public Gardens of Venice by 


| Moonlight,” $1,650, to Mr. A. B. 


Johnson. . 
Fromentin, ‘“Hunting with Falcons,” 
$5,300, to Messrs. Stollberg and Little. 


Dupré: “The Pond,’’ $1,050, to M. 
Boussod-Valadon. 
Corot: ‘“Morning,’’ $6,500, to M. 


| Georges Petit. 


Dupré: ‘Morning,’ $6,500, to Messrs. 
Knoedler and Co. 

Cazin: “The Thaw,’ $1,450 to Messrs. 
Knoedler and Co. 
“The. Shepherd,’’ $8,100, to 


Shreyer: “Arab Riders,’’ $5,800, to 
Mr: Hénry Schultzeis. 

Ziem, ©“View..of | Constantinople,”’ 
$8,000, to M. Georges Petit. 

Harpignies: “The Brook,’”’ $3,850, to 
Messrs. :Knoedler and Co. 

Lhermitte: ‘The Reapers at. Lun-| 
cheon,’’ $11,500, to Mr. A. R. Murray. | 

The total proceeds of the sale to date | 
are $154,08 ; 


5 


| NEW YORK, Jan. 15—Fair prices 
were brought by the water colors col- 


lected’ by the late Hermann Schaus at! 
he first evening sale held in the grand! 
ball room of the Hotel Plaza under the | 
auspices of the American Art Associa- 
tion tonight, Seventy-five pictures were 
sold for a total of $11,232.50. Consid- 


erable rivalry was displayed o the’ 
possession of “A vie ef Delat,” be: 
_ Jacob Marris. This work finally went 
to Knoedler & Company, dealers. for 


$1150, the highest price paid during’ the 
evening, Sat 

Several pictures were sold for $10, in- 
cluding the first one offered, “Cheval! 
Atelle,” by Mlle. Rosa Marie Bonheur, 
which was bought by J. H. Kline. Cap-. 


é <line. 
tain 2 8 Lamar purchased three 


ictures by Guiseppe Sicnorini i 
130. for “Une Femme Peintre.? $370 
for “‘Recouche du Proffesseur,’” and 


$410 for “D de Venise,” H it 

is a given list of the pictures wibich wold 
or or more, giving first th 
of the artist, then the peice, the ted 


| gwner and the price. said: 
| Alfonse Marie de Neuville—french Officer— 


| IW. Stursberg, $400; Alfonse’ Marie de Neu- 

viile—A German Officer—Ray B.  Megargel,, 
$300; Paul Jean Clays--Galiwe Sur PRscaut— 
A. B. Johnson, $525: Joseph Israels—Mother 
and Baby—Peter W. Rovss, $925; Joseph Is- 
racle—Washing Day—Pcter W. Reuss $700; 
Jacob Marris—A View of Delst—Knoedier and 
Company, $1150; Paul G. Clays—Amsterdam— 
George B. Worst, $425; Bernerdus Johannes 
Flommers—Minding Baby—Tooth ind Sons, 
$800; Willem Marris—Ducks and Dneklings— 
Knoedler and. Company, $710; Francois Pietei 
Ter Meulen—A Sheperdess—A. Barnet; $420:) 
Fritz Thawlow—Degel-Norway—Fred A. Ames. 
$600; Guiseppe Sicnorini—Recouche du Pro- 
fesseur—Captain J. R. De Lamar, $270; Gui- 
| seppe Sicnorini—Marchand de Quriosites—T, B. 
| Lerd, $240;. Guiseppe Sicnorini—Doge de Ven- 
ise—J. R. De Lamar, $410. 


—_— te 


BIDDING AT SHAWS’ 
SALE NEAR FRENZY 


eee 


casera 


From The Inquirer Bureau. : 

NEW YORK, Jan. 17.—By far the! 
briskest bidding of the week was evi-, 
denced at the third evening of the sale | 
of the. pictures formerly Helokatae to | 
the collection of Hermann Schaus held 
in the Grand Ball Room of the Hotel 
Plaza tonight. The quarters were crowd- 
ed and at times the offers came’ so 
thick and fast that the bidding approach- 
ed frenzy. , The proceeds from tonight’s 
sale far exceed the total for the two | 
previous evenings. The total amount 
for the evening reached $117,385, mak-| 
ing the amount realized on the sale) 
$154,082.50. Herewith is a list. of the | 
pictures which sold for $500 or more, | 
giving first the name of the artist, then '| 
the name of the picture, the new owner: 
and the price: 


Francis Charles Cachaud: Vi 
Moonlightfi, W. A. Granier, lage Street, 


SOO), i 

Rosa Marie ‘Bonheur: A 
Ae a Johnson, 00. i: Moulin DOBEEY, | 
Jean is nest eissonier; Esq { 
ee, Bioupe: Ae coe arta ip wert 
am Maris; Pasture d - 

Jer. and Co., $1675. baiebe heel deer =? 


Johannes Hendrik Weissenbruch; ‘The Canal | 


| Near Baskop, M: ‘A. Green 


Johan Barthold Yoneeind > Moonlight on a) 
Ce, aa Beaman, $1000. ‘ 
am Maris: Goose and Goslin W. : 
Seaman, $2900. bc us i 
JacobMaris~: A’ Pink on Shore at Schey- 
eningen, Knoedler & Coa.; G 
Jacob Van Ruisdael:: Landscape with Fig-| 
ures, A. B. Johuson, 600, 
Felix Ziem: Public Garden, Venice, Moon- 
light, A. B. Johnson, $1650, 
Emile Van Marcke: Sheep in Pasture, d. 
Johnson, $850. 
Constant Troyan: Sheep in Uasture, J. Blend- 


jning, $825, 
Féeding Time, Bos- 


| sod VaHadon & 6 


Charles Emile Jacque: 
O., y 
Hugene Be bahay Pn Maid with Falcons, 


| Stollberg & Little, $6 


| Geoges Petit Gallerie 


| Petit. Galleries, 


| ther HWorrest, 


| 


‘Antoine Vollon: The Fisherman’s Return, 

s, $500. 

Pond, ‘Bossod, Valladon. 

; Co., $1050. 

Téan Batiste Camille Carot: Morning, Georges 

Knoedler & Oo., 
River Land- 


Jules Dupres: The 


| & 6 


Jules Dupre: Morning, 


3600. 
Charles Francois 


Dea 
| scape, Harvest Moon, R. C.. Vorse. $2000 


Nareisse Virgile Diaz de la Pena: Bdge et 
a . W. Seaman, $12,000. 
Jules Dupre: The Old Oak, Holland Art Gal-; 
leries. $11 


Henri Harpignies: The Brook, Knunoedler & 
Cool Schreyer: Arab Riders, Henry Sehulth- 
eis, $5800. a] 

Leon Augusting Hermitte: The Reaper’s | 

u 


Basie ; rry. $11,500, 
Tenis de Bock: Milking Time nea¢ pm | 


z, P. W._Youff, 2500. 
COA a ahiek = aregatt Weissenbruch: On the 
f 5 oedler an 10, r4 : 
pA er Webeele: Domestic ‘Trouble, Wallace 
{and Sons, $13 


Pelix Ziem: View of Constantinople, Georges 


atit Galleries, $3 >, 
Feiaile Dieterle: La Reine du Troupean, Geo. 


ser he sale tonight completed that part) 
to be held in the Grand Ball Room of | 
the Plaza. A few water colors will be 
‘sold at the American Art Galleries to- 
morrow. aftternoon. / 


"An Important Showing of Modern Pictu 

"py the Barbizon Men, the Dutchmen and 

" Others—Remarkable Still-Life Piece by. 
Vollon Among the Masterpieces of the 
Exhibition Ya Pe 


ee 


| ‘The Hermann Schaus collection of paint- 
| ings and watercolors is the most important 
to be shown so far this seagon in the Amer- 
ican Art Galleries, New York. With a few 
exceptions it is a collection of modern 
work, comprising representative examples 
of some of the so-called Barbizon paint- 
ers, as well as a considerable number of 
canvases by such tontemporary Dutchmen, 
as Israels, Blommers, Jacob and William 

Maris, Mastenbroek and Weissenbruch, to- 
gether with a liberal sprinkling of miscel- 

laneous work by American, French, Eng- 
\ lish and German painters. Wee Pil Chae 
| One is immediately struck by the extraor 
‘dinary diversity of this.collection, reflecting 
|mo particular predilection other than the 
‘dealer's desire to please all kinds or condi- 
| tions of men. In the midst of much medi- 
“oere work one comes upon canvases of in- 
| dubitable merit, and here: and there a mas~’ 
| terpiece of supreme’ value. Such is the re- 
'markably fine still-life by Vollon facing the 
‘entrance in the large gallery. This mag- 
“nificently painted fruit piece is executed in 
his most brilliant manner. It is a tour de 
| force of virtuosity in a field that this man 
/has made his own. But he was no less 
| brilliant as a figure and landscape painter, . 
|/and to those acquainted with this side of 
| his art the landscape ‘The Fisherman’s Re- 
Pturn” will.come as a distinct shock. Its 
| erude blue sky and crude green grass and 
inept technique place it in an inferior class 
by itself. 

‘The several pictures by Jules Dupré will 
no doubt attract the collector of this man’s 
work. Of the six examples shown, three 
are pencil and crayon drawings, studies of 
the character and anatomy of trees. ‘Of 
these the study of a group of four ‘‘Willows 
Refiected’’ in'a pool is the most interesting. 
The three paintings, while quite character- 
istic specimens of his art, are not particu- 
larly fine in quality. Théy are dark .and 
heavy, éxcellent illustrations of the oid 
studio landscape, with its brown sauce 
shadows and. artificial arrangement that 
were the classic and accepted thing before 
the advent of Monet. 

A variation of the same recipe appears 
in the “Edge of the Forest,” by Diaz, 
which, however, is a much better example 
of this painter's art than are the three 
canvases by Dupré. A “River Landscape” 
in the soft light of the harvest moon, by 
Daubigny, strikes a more modern note. It 
is one of his characteristic lowland scenes, 
with a grove of poplar trees skirting the 
gently sloping bank of the shallow, rushy 
inlet, vigorously brushed:in with his accus- 
tomed simplicity and directness. 

Even more modern than this in treat- 
ment is Cagni’s ‘‘The Thaw,’’ in which the 
atmospheric qualities of the rosy drab sky 
| has been rendered with great subtlety, in- 
tensifying the effect of the rapidly disap- 
pearing snow on the undulating dunes. 
| Two. Harpignies, a small watercolor and a 
large oil, are of considerable interest. The 


oll painting is a comparatively recent work, 


being dated 1900. It is one of his fayorite 
| “Brook” scenes with his beloved moss- 


covered trees against a very light sky. The | 
water color is. less important, though no. 


less interesting. A good Fritz Thaulow 


Norway, showing the village street in the 
lambent evening light. Jt has more real 
quality and less mere cleverness than. many 
of this later pot-boilers. Several pencil and 


common fidelity of observation. iN 


| esting manner. The “Quai de la Douane, 
| Vénise,”” painted in 1898, the year of his 
| death, shows no falling-off in quality. It 


| of ‘Moonlight on’a Canal,’’ with its tan- 


pastel depicts a nocturnal winter scene in | 


‘ticulars. The pain of “A Mountain 
Donkey’? is not a particularly distinguished 
piece; although it is characterized by un- 


Theetwo paintings by Boudin, though. 
quite small, are in his ‘best and most inter- 


has the same pleasing color, vigor of han- 
‘dling and masterful treatment of ships and. 
shipping that one is accustomed to look for 
in ‘his best work. The ‘Trouville’ is even 
finer in its rendering of the white masses 
of. clouds floating above the pale, dove- 
gray horizon. In the painting by Jongkind 


gled rigging against the gray -blue night | 
sky, we have.a very different treatment of | | 
a similar subject. Painted boldly with a 
‘somewhat too obvious robustness, it lacks 
something “of the refinement of color and 
- treatment of Boudin. esi 

In comparison with the subdued gray 
tonalities of these two painters of harbor 
‘scenes, the four canvases by Félix Ziem are 
like flaming torches that illumine the whole 
‘wall on which they hang. The large “View 
of Constantinople,’? with its golden build- © 
ings and white minarets of Saint Sophia | 
seén across the transparent water of the 
pay, is a flare of gorgeous color. Some- 
- thing of this Same love of Oriental splendor | 
of color enters into the work of Adolf 
Schreyer, who is represented by an excel- 
lent painting of “Arab Riders’’ stopping - 
at a drinking fountain to water their. 


| ‘horses. It abounds in rich reds and greens | the vernacular c 
| and yellows; the fiorses are splendid ani- is very real an 
reverence such as 
“The Reaper’s Lunch,’ by Lhermitte, iS | presented ibiblical sul 

/’ > In addition to the f 
with a nice regard for the characterization characteristic examples 
of the figures as seen in the noonday light Rilictte, Kaulbach, Lero 
of the fields. Two sheep pictures, one by | Neuville, Raffaelli, CE ) 
_Essen, as well as a number of 


mals, splendidly painted. 


a typical: French peasant ‘scene, painted 


Constant 'Troyon and the other by Emile 
Van Marcke, illustrate the methods of two 
eminent animal painters; while the three 
canvases by Marie Dieterle are of great 
interest, Showing this artist In all her vigor. 
The canvas called “La Reine du Troupeai’”’ 
is especially imposing. : 

The small’ panel entitled “Lady and | 
Horse,” by Adelbert Cuyp, is one of the 
few old masters in the eollection, and as 
such commands especial attention. Thé- 
ophile de Bock igs represented by. a large 
| painting of “Milking Time Near Voorburg,”’ 
which is not especially interesting. The 
modern Dutchmen are quite plentifully rep- 
resented. Of the three Israels, the ‘Domes-~ 
tic Trouble’ is the most important. Tt | 
shows a young wife seated disconsolately | 
before a fireless hearth while her husband 
‘4s\ @rinking and playing cards with two 
cronies in the rear of the kitchen. Some- 
what sombre in color, it has a dramatic 
duality that no doubt gives it a wide, pop- 
ular appeal. The two other pictures by the 


‘\Bame artist are small watercolors of his 
, favorite subjects. 

The single example of Blommers’s art is, 
-a large and finely executed watercolor 
showing a young peasant woman “Minding | 
Baby,” wholly delightful in color and con- 
ception. Jacob and William Maris are rep- 
resented by good examples of their art. | 
The ‘View of Delft’? from the Sir J. Cc. Day | 
Collection of London is in many respects | 
| the finest watercolor in the exhibition, be- | 
ing painted with all of Jacob Maris’s: con- | 
summate rendering of atmospheric effects. | 
Wis brother. William is represented by | 
three pictures of his oft-treated subjects, | 
a “Goose and Goslings’’ and the “Ducks | 
and Ducklings’ are quite familiar, unpre- | 
tentious Httle essays in. watercolor, bright | 
and snappy. 


water color studies and a small painting | 


by Rosa Bonheur are of especial Interest, 


| 


treated, showing 
tion that must t 
' tled, 


Z 
Sa 
5 
> 


“ American painters. A 


* 


mis tines et ines, HRs ESS ceed de Sas ee OT 


‘A 


ON FREE PUBLIC VIEW 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


BEGINNING WEDNESDAY, JANUARY 10ru, 1912 


MODERN WATER COLORS 


BELONGING TO THE ESTATE OF THE LATE 


HERMANN SCHAUS 


OF NEW YORK 


UNRESTRICTED PUBLIC SALE BY ORDER OF 
THE EXECUTORS 


On THuRSDAY EVENING, JANUARY 18TH, AT 8 O’CLOCK 


Racer OINEN 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


CATALOGUE 
OF 


WATER COLORS 


BY 
MODERN ARTISTS 


TO BE SOLD AT 


UNRESTRICTED PUBLIC SALE 


By OrprerR oF Mrs. Sopuiz J. ScHAuUS, EXECUTRIX, AND 
ADOLPHE SCHAUS, EXECUTOR, OF THE LATE 


HERMANN SCHAUS 


ON THURSDAY EVENING, JANUARY 18rH 


AT 8 O’CLOCK 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY, OF 


THE AMERICAN ART ASSOCIATION, MAnaceErs 
NEW YORK 


1912 


SS. 


Press of Toe Lent & Grarr CoMPANY 
137-1389 East 25th Street, New York. 55 mt 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute arises between 
two or more Bidders, the Lot so in dispute shall be immediately put up again 
and re-sold. 

2. The Auctioneer reserves the right to reject any bid which is merely 
a nominal or fractional advance, and therefore, in his judgment, likely to affect 
the Sale injuriously. 

8. The Purchasers to give their names and addresses, and to pay down 
a cash deposit, or the whole of the Purchase-money, if required, in default of 
which the Lot or Lots so purchased to be immediately put up again and re- 
sold, 

4. The Lots to be taken away at the Buyer’s Expense and Risk within 
twenty-four hours from the conclusion of the Sale, unless otherwise specified 
by the Auctioneer or Managers previous to or at the time of Sale, and the 
remainder of the Purchase-money to be absolutely paid, or otherwise settled 
for to the satisfaction of the Auctioneer, on or before delivery; in default of 
which the undersigned will not hold themselves responsible if the lots be lost, 
stolen, damaged, or destroyed, but they will be left at the sole risk of the 
purchaser. 

5. While the undersigned will not hold themselves responsible for the 
correctness of the description, genuineness, or authenticity of, or any fault 
or defect in, any Lot, and make no Warranty whatever, they will, upon re- 
ceiving previous to date of Sale trustworthy expert opinion in writing that 
any Painting or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; failing in which, 
the object or objects in question will be sold subject to the declaration of 
the aforesaid expert, he being liable to the Owner or Owners thereof for 
damage or injury occasioned thereby. 

6. To prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of the Purchases, no Lot can, on any account, be removed during the Sale. 

7. Upon failure to comply with the above conditions, the money de- 
posited in part payment shall be forfeited; all Lots uncleared within one day 
from conclusion of Sale (unless otherwise specified as above) shall be re-sold 
by public or private sale, without further notice, and the deficiency (if any) 
attending such re-sale shall be made good by the defaulter at this Sale, together 
with all charges attending the same. This Condition is without prejudice to 
the right of the Auctioneer to enforce the contract made at this Sale, without 
such re-sale, if he thinks fit. 

8. The Undersigned are in no manner connected with the business of the 
cartage or packing and shipping of purchases, and although they will afford 
to purchasers every facility for employing careful carriers and packers, they 
will not hold themselves responsible for the acts and charges of the parties 
engaged for such services. 


Tut AMERICAN ART ASSOCIATION, Manacers. 
THOMAS E. KIRBY, Auctioneer. 


FOURTH AND LAST EVENING’S SALE 
THURSDAY, JANUARY 18rx, 1912 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8 O'CLOCK 


THOMAS WORTH 


No. 1— AN ARGUMENT 


PEN AND INK 


A) /) 
. . : [/ Peele, ress 
Height, 74, inches ; length, 91%, ro re: PML AD tr tote ; 


A HORSESHOE hangs over the entrance to an open shed, in which a re 
stands. JBeside it is a man in an overcoat with upturned collar, who is Wwatch- 
ing the energetic action of another man at his left. The latter, extending his 
arms, urges some matter with a man who nonchalantly leans against the left 
of the entrance. ‘Two other figures, one with a cape over his head, complete 
the group. 


Signed at the lower left, “Tos. Wort.” 


FELIX SATURNIN BRISSOT DE WARVILLE 


FRENCH 


No. 2— SHEEP AND SHEPHERD 


_ PEN AND INK DRAWING ON BLUE-GRAY PAPER 


£ \sotn si) va} y 
en Height, 81, i . Mee \ ep 
i. ght, 8% inches; length, 1144 inches \. * ; ; 
/] ( Owen Hi CU ee 


His dog at his heels, a shepherd stands at the right of the foreground, with his 
back toward us, but his head turned to the left. He seems to be watching his 
sheep as they approach from that direction and fall in behind him. Some of 
them appear at the foot of a clump of small oaks which occupy the right of 
the middle distance, and spread their almost leafless branches against a lower- 
ing sky. 


Signed at the lower right, “F. Brissov.” 


BAREND CORNELIS KOEK-KOEK 


HOLLAND (1803-1862) 


No. 3— GIRL POURING MILK 


DRAWING IN SANGUINE 


T Ce Height, 1¥/, inches; width, 31% inghes_ Bi 

7 F Fre Lane bs ALE 
A Durcu peasant girl stands facing the spectator, her head in d over the> > @ 
left shoulder, as she leans forward to empty the contents of a/bucket into a 
large pitcher. She is dressed in a bodice, loosely laced over a chemise, and a 

skirt which leaves her legs bare from the knees. 


Signed at the lower left, “B. C. Korx-Korx.” 


ALEXANDER HUGO BAKKER-KORFF 


HOLLAND (1824-1882) 


No. 4— STUDIES IN PEN AND INK 
ob Height, 111% inches; length, 161% inches aa, @ 
Tue artist, whose typical costume-pieces are highly esteemed in Holland, has 
here recorded six separate studies of the period of the early *40’s, arranged aa 
in two rows, each containing three drawings. In the upper, from the left, ; 
appears a lady, playing a piano; three old ladies seated round a tea-table, one . 
of them reading aloud; and a gardener watering a plant. At the left of the 
lower row, a lady in a poke bonnet, with a reticule hanging from her arm, 
stands leaning over another lady, who sits with folded hands. In the center, 
beside a table with a bird-cage on it, a lady is seated with clasped hands; while 
at the right a lady in the depths of a well-chair is reading a book. 


Signed and dated at the lower right, “A. H. Baxxen-Korrr, 73.” 


W. BREITSCHWERT 


GERMAN 
No. 5— AN ALLEGORY OF 1870 
WATERCOLOR 
Height, 1814, inches; length, 2234, inches See 5 


In a stalactite cavern, a number of gnomes are swarming round a German and 
a French soldier. ‘They have tied behind his back the arms of the latter who 
writhes in their clutches. But the German, wreathed with a garland of flow- 
ers, they are presenting to a maiden who, seated in a balcony at the left, is 
welcoming him with waving handkerchief. At the right of the foreground, an 
aged gnome with a child on his knee is seated before the entrance to a cave, 
where an old witch stands brandishing a ladle. 


Signed and dated at the lower left, “W. Breirscuwert, 1871.” 


EUGEN KLIMSCH 


GERMAN 
No. 6— A HAPPY HOME 
WATERCOLOR 
4 aris tees Height, 6% inches; width, 41, inches (> - fn 


A youne mother, seated with her back to a green-tiled Germar. stove, holds her / 
baby on her lap, while the father, from his chair at the left, leans forward with f 
his head against his wife’s, watching the fun. For the mother holds a thread 

of red wool, which passes through the little one’s hands and between its toes 
and descends to the floor, where a kitten is playing with the ball. The couple 
are dressed in German costume of the sixteenth century. 


Signed at the lower right, “Kuc. Kiimscu.” 


GEORGE PERKINS 


BRITISH 

No. 7— A QUIET RESTING PLACE 
WATERCOLOR 

A oc Height, 51% inches; beige Al/inche. 


Tue foreground is occupied by the corner (of a yillage graveyard,/s 
the back by trees. An urn upon a pedestal shows against the foliage. At the 
right is a glimpse of level country, where a stream winds back to the horizon, 
over which floats a crescent moon. 


~~ 


Signed at the lower left, “G. P.” 


J. H. LANGRAND 


No. 8— EVENING 


WATERCOLOR 


> Bo Ne 
Height, 41% inches; length inches” V; alte 
LOT ee 


A wantne moon hangs toward the left of a grayish-blue sky, streaked with 
slaty-blue over the horizon. Along the right of the latter extends a sloping 
promontory, under which lies a smooth sheet of greenish-gray water. It is 
seen beyond the edge of a knoll of olive-green grass, intersected by a path 
which occupies the left of the foreground. 


Signed at the lower right, “J. H. Lancranp.” 


EUGEN KLIMSCH 


No. 9— THE BABY’S TOILETTE 


WATERCOLOR 


2 a2 vo Height, 41% inches; length, 61, ii (pS OU 
PaInTED with the minute precision of a miniathethe scene shéws a young , 
mother, seated with her naked baby on her lap, while a little girl, as she tries 
to attract the baby’s attention, rests her hand on her mother’s. The latter 

is daintily attired in a white cap, lined with pink, and an apple-green gown, 
around the neck of which is wrapped a sapphire-blue handkerchief. <A basin, 

fixed in a tripod stand, appears at the left of the foreground. 


Signed at the lower left, “EKucen Kurmscu.” 


J. H. LANGRAND 


No. 10— A ROCKY SHORE 
WATERCOLOR 
@ Qa Height, 5 inches; length, prpen cs 
i VAM 


From a mass of piled-up rock at the left, topped with a f rown, stubby 
trees, meagrely sprinkled with leaves, the shore“slopes down t@/the right, strewn 
with boulders. Across the gray-green water a distant point of land, studded 
with trees, projects from the right. Beyond it a smooth, low band of shore 
extends below the horizon, under a sky faintly tinged with blue and slate. 


Signed at the lower right, “J. H. Lancranp.” 


F. T. BAYNES 


No. 11— FRUIT 
WATERCOLOR 
(Oval) 
s io Height, 61, inches; Ne 81, inches 


ae eee 
A BuutsH plum, a yellow one and some purple damsons are / ae oe 


cherries against a minutely painted background that seems to rere 


Signed at the lower center, “F. T. Baynes.” 


ANGE GIALLINA 


GREEK 
No. 12— , ACROPOLIS, ATHENS 
WATERCOLOR 
vA eek go Height, 63, inches; length, tye a2 
SEEN across a stretch of level country, the ruifs: of the Temple of Zeus 


at the left, while farther back.on the right the Acropolis rises out of a cluster 
of houses, exposing the side which is crowned with the Erechtheum. The rocky 
wall is broken up with pale lavender-gray shadows and projecting patches of 
buff aglow with the rosy warmth of the sky. 


Signed and dated at the lower left, “Giratina, 92.” 


ANGE GIALLINA 


GREEK 
No. 13— THE ERECHTHEUM, ATHENS 
WATERCOLOR 
i rs oe Height, 834 inches; length, 11 peokee, 


BzYonp a foreground, strewn with fragments of ieee AC eoe Seer 
rise six Attic-Ionic columns supporting an architrave. These occupy the right 
of the composition, the ruined wall of the cella stretching in perspective across 
the center and terminating at the left in the projection of the caryatid porch, 
of which four figures are visible. 


Signed and dated at the lower left, “Gtatuina, 92.” 


ANGE GIALLINA 


GREEK 
No. 14— THE LINE-WALL, CORFU 
WATERCOLOR 
° Height, 61/4, inches; length, 12%, inches 
/3 é ‘4 (A sy 1) ‘alye er, ; 


Tue water of the Mediterranean fills the foregr@ ae and exterids back on the 
left to the foot of purplish-blue mountains, veiled in mist. \At the right of 
_ the middle distance a boat, with reddish-brown sails hanging loose, lies moored 
off a high sea-wall. The latter is surmounted by houses, packed close together, 
the one at the left of the mass being distinguished by bright green jalousies. 
On a wharf at the extreme right appear some barrels. 


Signed and dated at the lower right, “Grauiina, ’90.” 


S. E. C. 


No. 15— PANSIES AND MARGUERITES 


WATERCOLOR 


Height, 91% ates s v4 SP 
By ae 
On Ve “if. 


Tue composition presents a nosegay of three re er interspersed < 


pansies. A purple specimen of the letter appears on the left, as a penda 
a purplish-red, while at the top are a claret-colored variety and one of reddish- 
purple and yellow. 


Signed at the lower center, “S. E. C.” 


TOBY 


No. 16— THE KING’S JESTER 


WATERCOLOR 


/ / oe. Height, 9 inches; Bs Ue anc wo /) ps 


A JESTER, in a suit of rose and yellow motl a large stan collar to 
his short blue mantle, stands facing the spectator. Resting his right hand on 
the seat of an oak chair, he watches the antics of a monkey as it pulls the tail 
of a cat. The latter has one forepaw on a dull, rose-colored cushion which 
lies on the floor at the foot of a suspended drapery of green, red and yellow 
stripes. A greyhound, seated in front of the chair, is also an observer of the 
sport. 


Signed at the lower right, “Tony.” 


J. H. LANGRAND 


No. 17— NEAR HAVRE 
WATERCOLOR 
pom Height, 61, inches; length, 1014 inches 


Ors q Vee a 
An anchor, red with rust, lies amid the drab boulders which encumber the fore- 

ground. From the right of the latter this inhospitable bit of coast extends 

back to a clump of yellowish-green foliage at the left of the middle distance. 

Farther back a rosy lavender headland slopes down to the center of the horizon, 

the latter being also interrupted, at the right, by a flat reach of land, scrubby 

with trees. The lower sky is streaked with rose and dark dove-gray clouds. 


Signed at the lower right, “J. H. Lancranp.” 


J. SIMONS 
No. 18— HEAD AND BUST OF A GIRL 
WATERCOLOR 
(Oval) y 
Ss” Coe Height, 12 inches; width/8 ine es 


yp fA 
Beeee / 4 
ENcLOsED in an oval, the head of a girl is ben fn eee ak 


the bust is three-quarters in view. The blond hair descends in ripples over 
the ears to the neck, where a little blue appears in the background. The 
cheeks and lips are rosy, the eye being blue. Around the circular opening of 
the chemise are indications of lavender-pink drapery. 


McPHERSON 


No. 19—- ON THE COAST 
WATERCOLOR 
v oo Height, 7 inches; le thy, 10 inches 
(). WAY 


TuReEE men are working over a boat, upon the hull of which appear some red, 
blue and brown patches, as of jerseys hinging. It lies on the sand, which is 
washed in with sepia and touched with little scarlet streaks and suggestions of 
stones. In the distance a church spire rises out of a group of buildings. 


Signed at the right, “McPHERsON.” 


L. H. MICHAEL 


No. 20— THE PARTHENON IN 1850 
. WATERCOLOR 
( 0S Height, 91, inches; length, 4 asta. 


: Va AIH 

Across a foreground, strewn with architectural! debris, the nyo the temple 
are viewed at an angle. To the right extends an order of &ght Doric col- 
umns, surmounted by a pediment, while to the left are seen five of the seven- 
teen columns that originally composed the side of the temple. Farther to the 
left are the columns and architrave, which survive from the other pedimented 
facade. At the back of the ruins appear the domes of a Turkish building, 
while below the stylobate in the foreground is a hut, before which stands a 
soldier wearing a red fez and carrying a musket. 


Signed at the lower left, “L. H. Micwaet.” 


L. H. MICHAEL 


No. 21— THE FORUM, ROME 
WATERCOLOR 
Height, 10 inches; length, 14 inches ~ 
ee ‘ : ig ie 
THe foreground is strewn with fragments of eélumn§, - interrupted by 


portions of brick construction. At the left are the remains of a stylobate, 
from which rise three columns, supporting an architrave, presumably the re- 
mains of the Temple of Castor and Pollux. At the right appears the arch of 
Septimus Severus, while the background is formed by the tabularium and 
the surmounting three stories of the south facade of the Capitol. Above the 
latter soars the Campanile of the Palazzo del Senatore. 


Signed at the left of the center on a piece of masonry, “L. H. MicHaet.” 


L. H. MICHAEL 


No. 22— ROME FROM CAMPO VACCINO 
WATERCOLOR 
{ Bie: Height, 10 inches; length, 14 inches Ave € 


rip bs5 Vad, tet helt 
THE view, observed from Campo Vaccino, the popular name of the Foru ; 
from the Middle Ages to the present day, overlooks a street, shaded with trees, 

which crosses the foreground diagonally. A woman in crimson dress and white 

cap and apron is coming forward. From this point the eye wanders over a 

sea of red-roofed houses, interrupted by projecting edifices. Conspicuous 

among the latter are a large dome and two smaller ones, near the front at the 

left, and a high one, apparently that of St. Peter’s, in the central distance. 

Farther to the right a rock pine shows against the sky. 


Signed at the lower left, “L. H. Mricwaet.” 


L. H. MICHAEL 


No. 23— ‘TEMPLE OF ZEUS AND THE ACROPOLIS, ATHENS 


WATERCOLOR 
ca hae Height, 934 inches; length, 13%, Di me 
mm \ 
Ristnc conspicuously on the right of the composition are thfee Corinthian 


columns, surmounted by the remains of an architrave. Its height is em- 
phasized by contrast with the figure of a man, who stands at the base of the 
right-hand shaft. A vista of other columns extends at the back, paralleled 
on the left by a row of cypresses. The right of the composition is occupied 
in the middle distance by the lavender-pink rocky walls of the Acropolis, rising 
out of the cluster of houses at its base and crowned with the ruins of the 
Erechtheum. 


Signed at the lower left, “L. H. Micwart.” 


L. H. MICHAEL 


No. 24— THE COLOSSEUM 


WATERCOLOR 


Af ee Height, 934 inches; leng 

SEEN across a confused array of ruins Con of architecture, 

are partly covered with vines and verdure, the remains of the Colosseum occupy 
the center of the middle distance. The structure on its left side shows the 
original design of the four stories intact; but those on the right have been 
demolished and the interior is revealed. At the left of the composition stands 
the Arch of Constantine, while in the distance, at the right, appears a hill 
crowned with a dome. In the front of the amphitheatre a group of visitors 
is being conducted by a guide. 


th, 13%, ees 


Signed at the lower left, “L. H. Micwaet.” 


LUIGI LOIR 


AUSTRIAN 
Ne. 25— LA BAIE DE LA MER 
| WATERCOLOR 
/ 47 Height, 101%, inches; length, 14%, in es 


O We rrp Pol 


AN esplanade leads directly back from the right of(the foreground and, at a 
point where a steep path ascends a cliff, veers to the left and terminates in a 
building, adjoining a tall tower surmounted by a lantern. Groups of ladies 
sprinkle the walk; one in advance of the others being gowned in white. The 
sea-wall slopes down at the left to the sand, where some fisherwomen are as- 
sembled, while at the extreme left, near some rocks, two women are washing 


laundry. 
Signed at the lower right, “Lom Luter, 119.” 


LUIGI LOIR 


AUSTRIAN 


No. 26— GARDEN OF THE TUILLERIES 


WATERCOLOR 


a Te Height, 101% inches; length, 14/1 aes Wynrek9 We 
~lY. tn 


SrEn across the bright green lawns of the Tuiff¢gries gardens and the paths 
sprinkled with figures, rises the fagade of the northwest wing of the Louvre, 
erected during the First and Second Empire and the Third Republic. To the 
left show the buildings fronting on the Rue de Rivoli. Conspicuous toward 
the right of the foreground is a man in slaty-colored trousers, short drab coat 
and straw hat, while farther back appear three little girls, one of whom carries 
a hoop, and a lady and gentleman, feeding the birds. 


Signed at the lower right, “Lom Lvutat, 115.” 


ROBERT DE CUVILLON 


FRENCH (1848- ) 


No. 27— HEAD OF A GIRL 


WATERCOLOR 


3 oo Height, 121%, inches; width, 9 a +f; (P 
: ; . ek Vi 


Tue face is represented almost full, with the eyes gazing at the spectator under 
slightly lowered lids and the lips smiling quizzically. The neck is creased as 
the head inclines over the left shoulder, which is elevated above the other. : 


Signed and dated at the lower right, “R. pe Cuvitton, 1875, 210.” 


FRANCOIS CHARLES CACHOUD 


FRENCH (CONTEMPORARY) 


No. 28— VILLAGE CHURCH, MOONLIGHT 


Height, 1314 inches; width, 8 inches 


34> 1 PASTEL Ca ye Ger 


Tue saffron sickle, tinged with orange, of a crescent moon hangs above a 
horizon suffused with reddish-yellow glow. Silhouetted against it, at the left, 
is an eminence, fringed with trees and crowned with a church that rears its 
small spire into the greening upper sky, where float faint skeins of rosy lay- 
ender. Upon a knoll at the right stand two trees, whose stems lean together, 
while their foliage unites in a soft gray-green mass. 


Signed and dated at the lower left, “F Cacnovun, 1906.” 


EK. IMER 


No. 29— FETE SUR LE GRAND CANAL 
WATERCOLOR 
Height, 131% inches; width, 91/, i RAPE oo 
x ce eug VY, inches; wi Y, inches Pe, ee 


ee 1 rofl 4 

Tuk water of the canal is bounded at the left by a palace Gi thie ucre oF 
balconies, protected by awnings. From the center balustrade project two flag- 
staffs, draped with the green, white and red ensign of Italy. To the light-blue 
mooring posts in front of the entrance are fastened two black gondolas, one of 
which has a rose-colored canopy, the other a crimson and yellow. In the middle 
distance a third gondola, which lies across the canal, is distinguished by a 
decorated lantern, mounted on a pole. 


Signed at the lower right, “E. Imer.” 


GEORGE PERKINS 


BRITISH 


No. 380— AN ALLEGORY 
(Three subjects) 


WATERCOLOR 


A ge Height, 51%, inches; width, ee to A if) 
ee Ae, pratt 


In the left-hand subject two figures are standixg featie a tall hee in the 
angle of a building from which a buttress projects. The central composition 
shows precipitous rocks, on a ledge of which appears a pilgrim, who has flung 
down his staff and cloak and is hurrying toward a vision of Christ in glory. 
The third scene represents the high altar of a Cathedral, the columns of which 
are richly decorated with sculptured figures. In front of the altar are dis- 
posed the celebrant and attendant priests, vested in chasubles, and two thurifers, 
while a group of laity kneels at one side. 


Signed at the lower right, “S. P.” 


OCTAVE SAUNIER 


FRENCH 
No. 31— RIVER SEINE—FISHING 
WATERCOLOR 
A OE Height, 121% inches; width, 9% inches 


From a triangle of bank at the left of the foregro a man, dr¢ssed in white, 
leans forward as he holds his rod. A little beyond him stand two ladies, the 
nearer wearing a blue and white striped gown and carrying a parasol of old 
rose hue. Her companion is stooping toward the water. Beyond the group 
appears a clump of bluish-green trees. Across the gray-green water, dyed with 
purplish-blue reflections, lies the horizontal line of the opposite bank, fringed 
with trees. 


Signed at the lower right, “Oct. Saunter.” 


~ 


ROBERT DE CUVILLON 


FRENCH (1848- ) 


No. 32— CHAPEAU DIRECTOIRE 


WATERCOLOR 


m9 = Height, 12%, inches; width, 93// inches Nn { ie, 
soe YL. y (ee 

Tue head and bust of a young lady are shown facing three-quarters to the left. 
The golden ringlets which cluster over her forehead and down the sides of the 
cheeks are surmounted by a Directoire hat. It is of straw; the brim, which 
curves up in front, being lighter in hue than the tall cylindrical crown. The 
latter is tipped with pink and gray ostrich plumes and bound at the sides with 

a blue ribbon, the ends of which are tied in a bow under the chin. A butter- 
colored fichu, dotted with white, lies over the shoulders of a greenish-white gown, 
frilled round the circular opening of the bosom and flounced at the sleeves. 


Signed at the lower right, “R. pe Cuviti0n.” 


G. SHEFFIELD 


No. 33— TURNIP FIELD 
WATERCOLOR 

¥S oe Height, 1014, inches; owed ™ esr) 
A FIELD, intersected longitudinally by narrow (renc es, ae the grace? 
Its surface is bumpy with the white roots of turnips and shaggy with their 
leafage, while at the right of the center a large basket stands beside an over- 
turned one. The field is bounded at the back by an irregular fence, interrupted 
in the center by an opening, which is flanked by two trees. One of them has a 
bunch of growth, apparently mistletoe, around the crown of its trunk. The 
picture is painted in sepia. 


Signed at the lower left, “G. SHEFFieL.” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 
No. 34— CARDINAL A ST. PIERRE 
WATERCOLOR 
are Height, 131% inches; width, 914 jmohes Pe) 
oo 5 Bie etn 


A Caroprnat stands facing us with the forefinger of ise right hand held to his 
lips and the remaining fingers under his chin, as, inclining his head over his 
right shoulder, he reads a book. Behind him is a plum-red marble basin, which, 
resting on a pedestal that occupies a circular depression in the floor, is sur- 
mounted by gilded sculptural work. On the wall, at the back, hangs a marine, 
with the following inscription, contained in a cartouche, below it: ‘Dictus 
XIII. Pon. Max. Humana Regeneratio Fontem.” 


Signed at the lower right, “Guisrr. Stanortn1, Paris.” 


oe! OT IN Ty ee tee Nn ma ln a i ee a a at ee ee 
= “ ae : : 5 Ss a ee ee pte. on (Sete Se PCE RENE Dir (oe 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 35— AVANT LA MESSE 
WATERCOLOR 
poe 4 oe Height, 1314, inches; width, 9, inches 


Seatep in a buff leather chair, fue oe 
gray hair showing below his rose skullcap, is conning the page/of a very large 
service book. The lower edge rests on his knees, while the weight is supported 
on the back of a crimson chair in front of him. He is vested in a puce-colored 
cassock with rose cuffs, and wears a gold cross on his breast. 


Signed at the lower right, “Guiser. SicNortn1, Paris, No. 170.” 


C. ROUSSE 


No. 36— YPRES 


WATERCOLOR 
e 
if ST gee Height, 15 inches; width, 81/4 ey Ww 


Tue scene embraces a short vista of street, terminating in the coxspicuous fea- 
tures of the two cathedral towers. The nearer one is crowned by a central 
spire and four small ones, surmounting turrets which project at the angles; 
the other has a low spire and belfry windows. In the middle distance is a 
covered cart, while nearer to the front two women are approaching, and at the 
left of the foreground a woman with white cap, sleeves and apron, stands on 
the sidewalk, talking to another woman, who sits on the curb beside a basket. 


Signed over a shop front at the left, “C. Rovssz.” 


G. SHEFFIELD 


No. 37— SHEPHERD 


WATERCOLOR 


4% Height, 1014 inches; length, 151% inches kK i, 4 
fs VV ql 


EXECUTED in sepia, the scene shows a bit of country Cond tat the eat. of whic 
as it seems about to descend, appears a shepherd carrying a stick. The road is 
bordered by coarse vegetation, out of which, at the left, grow three trees, 
separated by a fence from a fourth, which is in the immediate foreground. In 
the middle distance, at the right, a small tree stands between a bush and a fence 
and inclines over the latter. 


Signed at the lower right, “G. SHEFFIELD.” 


C. ROUSSE 
No. 38— MAYENCE 


WATERCOLOR 


if cy : lee Height, 1534 inches; width, 9 rp 
Bes oF the cathedral lifts ite four diminislins Whe’ Id we ohadon? Le 
into a blue sky hung with white clouds. Below appears the upper part of a 

gabled transept, whose base is hidden by the booths of the market place which 

cluster close around it. The right of the scene is bounded by a three-gabled 

dwelling house, adjoining which is the front view of a facade that terminates 

at the top in a pedimented gable. A purple-colored awning overhangs a stall 

near the foreground at the right, while upon the left, farther back, a white one 

shows conspicuously. The intervening space is filled with groups of figures 

gathered around baskets of produce. 


Signed at the right of the lower center, “C. Rovssr.” 


ROBERT DE CUVILLON 


FRENCH (1848- ) 


No. 39— ODALISQUE 


WATERCOLOR 


‘a ae Cee, Height, 18 inches; width, - inches 
Ve. 


An Oriental beauty stands on a white bearskin rug against a wall decorated 
with pale-green arabesques. Her hair is adorned with three pink lotus flowers 
and a gold jewel, while chains and discs dangle at each side of her face. She 
holds her right hand above the shoulder, grasping a gauze veil; while the left, 
hanging down, clips a fold of the black and gold shawl which is draped over a 
rosy skirt. The lines of her bust are emphasized by a white sleeveless bodice, 
encircled at the waist with a gold band. 


Signed at the right, “Ropert DE Cuvition.” 


MADEMOISELLE K. E. DE GROLIER 


AMERICAN 

No. 40— SPRING FLOWERS 
WATERCOLOR 

bo Height, 1444 inches; wi ith, 12 inches 


Ristne out of a mass of soft feathery moss and interspersed with fronds of 
filix-mas and parsley ferns, are arranged some blue violets, yellow heartsease 
and small white violets. The composition is encircled in an oval. 


Signed and dated at the lower right, “K. EK. pe Grorirr, 71.” 


EK. IMER 


No. 41— CHATEAU DE BLOIS 
WATERCOLOR 
ee ] 
<= Height, 1634 inches; width, 111, inches om AeA pee 


Tue view is through an opening, framed on the right by a column, the/ shaft 
of which is decorated with zig-zag ornament and surmounted by a capital from 
which projects a snake’s head gargoyle. Beyond extends a brownish-yellow 
courtyard, bounded by a fagade, the conspicuous feature of which is a semi- 
octagonal turret staircase. Constructed, open to the air, of vertical piers, 
intersected by three tiers of diagonal balustrades, it terminates at the top in a 
story containing four windows. The lower part of the turret is embellished 
with statues in niches. 


Signed at the lower left, “E. Imrr.” 


C. ROUSSE 


No. 42— WEST BOW, SCOTLAND 


WATERCOLOR 


A warrow street winds back with houses whose upper storie¥ project ovef the 
sidewalks, the vista terminating in a square battlemented tower, surmounttd by 
a flagstaff. The scene is busy with a throng of pedestrians, in the front of 
which a woman, wearing a white waist and red-striped apron, is chaffering with 
two bare-legged fishermen, one of them distinguished by a white and pink 
jersey, who stand beside their baskets of fish. On the curb at the left a woman is 
seated, with a child on her lap. 


4a Height, 1834 inches; width, 934 inches \. A 


Signed at the lower right, “C. Rovssr.” 


ED. HAMMON 


No. 43— WAITING 


WATERCOLOR 


j Ae es Height, 17%, inches; sue Ss 
= 3 


2 VO 
Wiru her hands clasped below her waist, a a4 stands facing the spectator, 
leaning against a tall pedestal surmounted by the lower half of a statue of 
Cupid. Her chestnut hair is fastened with a blue bow. A gauzy fichu is drawn 
down with a bow of rose and gray striped ribbon onto the plain straight body of 
the gown, which is of watered silk, showing tones of blue and rose. 


Signed near the lower left, “Ep. Hammon.” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 44— RACLEUR DE VIOLON 


WATERCOLOR 


o / G ai Height, 19 inches; width, 1314 inches ‘3 
( oe unit 
18 


Aw old man, with rosy and wrinkled face, sits Handling his bow in a constrained 
attitude, as with rumpled white wig and mouth helplessly ajar he scrapes his 
violin. He is gaily attired in a mossy-green velvet coat embroidered with silver, 
a vest covered with a diaper of light-blue cross lines, pale-pink breeches and 
mustard-yellow stockings. An iron music-rest stands at his right in front of a — 
sort of Gothic oak reredos, the design of which includes a low-relief panel and 
a statue in a niche. 


Signed at the lower right, “Guiser. Sicnorint, Paris, 278.” 


GUISEPPE SIGNORINI 


ITALIAN (185'7- ) 


No. 45— PARFUMS ORIENTAUX 
WATERCOLOR 
2 gee: Height, 19 inches; width, 131/, inches 2 Aa oe a 
Plo Pe eo NAY, ie 


A FAIR-HAIRED girl is seated on a divan holding a cigarette in her left hand, 
while she turns to watch the threads of smoke issuing from a perforated 
sphere in the center of a brass dish, which occupies the left of the foreground. 
Over the gauzy fabric that covers her bosom lies a series of vertical chains, 
suspended from metal balls strung upon a hoop. A deep blue jacket embroid- 
ered with gold hangs over her right arm, her costume being completed by a 
skirt of a paler blue, sprinkled with gold devices. 


Signed at the lower right, “Guiser. Sicnorin1, Paris, 260.” 


GUISEPPE SIGNORINI 


ITALIAN (185'7- ) 


No. 46— RESTAURATEUR DE CURIOSITES 


. WATERCOLOR 


Ct oe Height, 1714 inches; width, 1314 inches px 1) ee. 
4/~/ 0 -—- EA at 


Wuite a man, leaning back in his chair with a palette in his left hand, paints 
the statue of a child that stands on an ebony pedestal, an old beau, with his lips 
apart and drawn back, studies the effect through an eyeglass. The painter is 
dressed in salmon-colored velvet breeches, and a creamy, flower-bordered vest 
over a white shirt. In the rear of the studio, at the left, an assistant, whose 
sapphire-blue breeches are protected by a slaty-blue apron, is dusting another 
colored statue. 


Signed at the lower right, “Guiser. Sicnortnt, Paris, 125.” 


Ne eS SL 


—F 

Sal 
vane 
yi 


MRS. E. MURRAY 


No. 47— A LAY SISTER 


WATERCOLOR 


= G0. Height, 171 inches; a yoglies La 2 
UY. Ve 


A cirv’s figure, represented as far as the aces is shown facing three-quarters to 
the left. Her eyes are uplifted and her hands clasped below her waist. She is 
dressed in a white lawn cap, blue tippet crossed over a plum-colored bodice, 
a chemisette with full white sleeves and a blue apron. A cross is suspended 
round her throat by a black ribbon. 


ROBERT DE CUVILLON 


FRENCH (1848- ) 


No. 48— ORIENTALE 
WATERCOLOR 
[ oe Height, 18%/, inches; width, (Sy 8 
Vre 
A GRACEFUL girl stands in front of a wall that ts decorated with yellow arabes- 


ques; her figure three-quarters full to the left; the head facing us, inclined to 
the right. Rings are suspended from her ears, while her brown curling hair is 
surmounted by a salmon-pink turban and adorned with a jewel and tiara, com- 
posed of blue stones in a gold setting. Her left hand is poised lightly on her 
hip, while the other is lifted to the right shoulder, fingering the gray veil which 
hangs from the back of the tiara. A drapery of white gauze, dotted with gold 
spots, wraps her bosom and descends over her pink skirt. 


Signed at the lower right, “O. bE CuviLion.” 


C. ROUSSE 


No. 49— MALINES (MECHLIN) 


WATERCOLOR 


x, he ie Height, 1814 inches; width, 10 BO 
Uh 4 Fyelt 


Wazrme_p by the rosy glow of the sky, the dove-gray tower 3) the cath 
mounts high above the transept and the choir, which are surmounted at their 
juncture by a lantern. They show over the two red-tiled gables and two 
pedimented top stories of some houses, which terminate the vista of the market- 
place. The latter is animated with figures, moving amid baskets of produce. 
Near the front, at the left, a woman’s head shows above her stall, beside which 
stand two other women in white aprons, one of whom carries a basket. 


Signed at the lower left, “C. Rovssr.” 


PAULINE GIRARDIN 


No. 50— A FLORAL EMBLEM 
WATERCOLOR 
Arte. Height, 18%, inches; width, 12%, inches /) 


2 la Ton is , 
t a bunch of grasses and ss 


Tue composition represents a white cross set agai 
lue pansies cluster on its ee 


twined about the base with ivy sprays. Lavender- 
right arm. 


Signed at the lower right, “Pavutine GiRARDIN.” 


Yat ey ed at, ee R zi ian ee ‘ 
A - ls oe, ne sae 7 ‘AE a el a ‘oe 


GUISEPPE SIGNORINI 


ITALIAN (18577- ) 


No. 51— ATELIER DE PEINTURE 
WATERCOLOR 
M b eves Height 1714 inches; width 4 ine a 


An easel, at the left, holds a painting a la Bo op of/a scantily draped nymph : 
with doves and a cupid. An old, sharp-featured, spectacled man is working b> 
upon it as he sits in a Louis Quinze chair. Behind the latter stands a gentle- 
man in a lavender-plum, gold-embroidered coat, holding his cane behind his 

back and his head to one side, with a critical air. The painter wears a crimson 

velvet bonnet-cap and a pale-green quilted silk dressing-gown. A majolica 

jar, filled with brushes, stands beside him. 


Signed at the lower right, “Guiser. Stcnortni, Paris, 142.” - 


GUISEPPE SIGNORINI » 


ITALIAN (1857- ) 


No. 52— LA PREMIERE LECON DE MUSIQUE 
WATERCOLOR 
: ss Height, 1714, inches; width, 1134 inch yy 
ye ; ye U fen. 4 } i) () «aah 7 


Szatep, facing the spectator, on a gray velvetSettee embroidered with gold, 
is a gray-haired man dressed in a flowing gown of rosy silk, damasked with 
creamy arabesques. He is playing a lute, while a boy, as he stands at the left, 
is accompanying him on a flageolet. His long face, surmounted by curls, 
is bordered round the neck with a full collar; a black velvet tunic and dove- 
gray tights completing his attire. 


Signed at the lower right, “Gutsrr. StcnNortn1, Paris, 272,” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 53— LECON DE GEOGRAPHIE 
WATERCOLOR 


Height, 17% inches; width, 114% inch&\ 7  /_ ) 


Nef ie weey 


hn gee heh Oe 
Aw old gentleman, supporting a large book on his knees, sits beside a terrestrial 
globe. A youth rests his hands on the latter, as he stands behind it, watching 
the reader. He is dressed in a pale greenish-blue coat and a creamy-olive vest, 
bordered with blue and rose. The pedagogue’s costume includes brownish-red 
breeches and coat. A tapestry at the back displays three figures beside the 
base and shaft of a column. 


Signed at the lower left, “Guiser. SicNortn1, Paris, 115.” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 54— LE MESSAGE 


WATERCOLOR 


? 
/) 
; oper () . ae, 
sue Height, 18 inches; width, 12 inches ion tthe ee ttle 
2 a ) CALT 


HILE a gentleman sits reading a missive, a page stands by his side holdi 
another on a salver. The former is sumptuously attired in an apple-green Gnd 
silvery-drab damask robe, with sleeves of mossy-green and yellow brocade, while 
a crimson and pearly stole hangs from his shoulders. A crimson velvet cap 
sits on the chestnut curls of the boy, who is dressed in a doublet and mantle of 
crimson brocade and dove-gray tights. An old-rose curtain is draped in the 
background. 


Signed at the lower right, “GuisErpre SiGNoRINI.” 


L. SEITZ 


No. 55— THE WIDOW’S MITE 


WATERCOLOR 

Height, 181, inches; width, 14 wa ced. 
THE scene is a portico supported on Ionic columns, beyond which a dome and 
spire are visible. At the left of the foreground Christ, attended by the 
young St. John, turns His head to address another disciple, while pointing with 
His left hand toward the incident which is being enacted at the right of the 
composition. Here a woman, who carries a child on her arm, is dropping a coin 
into a receptacle mounted on a pedestal. Meanwhile, a stout and prosperous- 
looking man, as he watches the act, thrusts one hand into the bag at his belt 
and displays in the other a number of coins. 


Signed and dated on the pedestal of the receptacle with the monogram, “L. S. 1868.” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 56— THE REHEARSAL 


WATERCOLOR 


/ th (te Height, 1714, inches; width, ainte irs Ah. 
ra : 
ee 


A wavy and gentleman lean toward each other Ag they sit on a sofa, playing, 
respectively, a lute and a violin. At the end of the sofa stands a bass-player, 
reading from a rococo music-desk which is placed at the left of the group. He 
wears a greenish coat embroidered with lavender, while the other gentleman is 
attired in blue satin coat and breeches and a gold diapered satin vest. The 
lady’s costume comprises a pinkish-rose pompadour train over a pearly-white 
skirt embroidered with gold. 


Signed at the lower right, “Guiser. SicNorin1, Paris, 113.” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 57— MUSIQUE EGYPTIENNE 
WATERCOLOR 
0 eae Height, 1814, inches; width, 121, inches LTA i) 


Aw attractive girl is seated on a tabouret, passing a bow across the small drum 
of a two-stringed instrument with a very long neck. Scarlet poppies and leaves 
adorn her dark hair, while her sinuous form is closely draped with a rosy- 
crimson, gold-embroidered satin scarf. Across her bosom extends a decoration 
composed of discs set in filigree. The figure appears beneath a swinging lamp 
in advance of a column and a horseshoe arch, the latter admitting to a second 
arch, which is fluted. 


Signed at the lower right, “Guisrr. SicNortnt, Paris, 261.” 


HENDRIK VEDER 


HOLLAND 
No. 58— A STEAMER ASHORE 
WATERCOLOR 
ve ee Width, 131% inches; length, 20 eats / a aa wi 
d see VAM Ann re 


Tue center of the composition is occupied by Misvenier, with the dull-red 
coloring below her water-line exposed. She carries two masts, the fore being 
rigged with three square yards to which the sails are reefed. Alongside her 
lie two sailboats which appear to be taking off her cargo, while near her bow 
is a two-masted lugger, with a touch of bright green on her deck-house. 


Signed at the lower right, “Henpx. VEDER.” 


CHARLES EDMOND YON 


FRENCH (1836-1910) 


No. 59— LA LAVEUSE 


WATERCOLOR 


af ne 6° Height, 1434 inches; length, 21% an. ae Miler ; 
) ] 


Ar the foot of an apple tree which leans over the left end of a pool a woman 
kneels, scouring linen. The water reflects the pale blue of her waist and the 
green of the apple and other trees which grow along the bank, being also over- 
spread with patches of weedy scum. Along the summit of the bank are indica- 
tions of a road, beyond which meadows extend to a screen of trees. A fresh- 
ness as of late spring pervades the scene. 


Signed at the lower right, “EpmMonp Yon, AM GREICHET.” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 60— CHEZ L’ANTIQUAIRE 
WATERCOLOR 
) iS Yer Gas Height, 17 inches; length, 23%, inches 
/ f 


<N, 
1S 
=) 


£ re Q 
Ar the right of the composition a oe pa Tul ites and ~ : 
cassock, with a cloak of rosy crimson showing at his/back, sits at a round table, 

his arm about a vase of roses, the fragrance of which he is inhaling. Mean- 

while, at the left of the picture, the antiquary, bald-headed save for a few white 

hairs, is retouching with a brush the gilded carving of a wooden lantern. 

Dressed in a deep blue coat embellished with sea-green embroidery, he is seated 

near a drapery of crimson and yellow brocade, with his back to the gilded figure 

of an angel which holds a pole surmounted by a lantern. 


Signed at the lower right, “Guiser. Stcnortn1, Paris, 279. 


G. BOURGAIN 


FRENCH 


No. 61— . PATROUILLE SUR LE PONT 


WATERCOLOR 


— Height, 124%, inches; length, 20%, ine, A 
y) of ss wo Ve Mornrrreff- 


Over the wet roadway of a bridge, which petite ie foreground, is passing 
a patrol of French sailors. A lieutenant, in blue frock coat and trousers, with 
a sword at his side, marches in advance, head erect, eyes to the front. But 
those of the eight jackies who follow him, two and two, dressed in duck trousers 
and blue tunics belted at the waist, are wandering from the ranks. Some turn 
to gaze at a trim-looking girl, in white peaked cap and scarlet dress, who stands 
on the sidewalk at the right of the foreground, while others look back to two 
girls on the opposite trottoir. The latter are passing a Breton peasant, who 
leans over the iron railings of the bridge, surveying the walls and towers of a 
fortress in the rear. 


Signed at the lower right, “G. Bourcain.” 


H. LEVEY 
AMERICAN 
No. 62— PACIFIC COAST 
WATERCOLOR 
se PEEGhI 10 lashes: tongeh, 2h tnohes ue ie - Ae 


A sLENDER tree, sprinkled with a few leaves, cuts across two bushy trees which 
crown a sandy knoll at the right of the scene. ‘The slope descends across the 
foreground, terminating in slabs of lavender-brown rock. They are paralleled 
by a further reef of rocks, which show above the water. The latter extends, a 
flat grayish-green surface, to a distant line of purplish coast, against which 
appear the bluish-purple sails of two boats. A flock of gulls is hovering 
over the foreground. ; 


Signed at the lower right, “2.; Levey.” 


JOHN SALMON 


No. 63— A SCOTTISH CASTLE 
WATERCOLOR 
yo ee Height, 184, inches; lengthy-90Y inches 
Tue light, shining from behind a dense phe cloud, ghistens white on 


the square keep and surrounding walls of a castle which occupies an eminence in 
the middle distance. On another summit, nearer to the spectator, appears a 
building with two smoke-stacks. A woman, distinguished by a blue apron, is 
descending the slope, followed by two men with a led horse. Over on the right 
of the foreground the costumes of a group of people present hues of yellow, 
green and purple. 


Signed at the lower left, “Joun Satmon.” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 64— LE NEVEU DU CARDINAL 


WATERCOLOR 


plied Height, 181/, inches; length, 231, inches ay 

2 HC ae Ne 
A Baby is asleep in an ornate gilded rococo cradle which occupies the center of 

the composition. A daintily attired nurse stands at the right, watching the 
ecstatic demeanor of a lady, who leans forward with clasped hands. She wears 

a pompadour train of brownish-pink and gold damask over a pearly satin skirt, 
embroidered with gold. Meanwhile, a cardinal sits at the left with a snuff-box 

in his hand, smiling. Over his rosy-colored cassock is a lace cotta beneath 

the rose cape. 


Signed at the lower right, “Guiserp. Stanorini, Paris.” 


ANGE GIALLINA 


GREEK 
No. 65— THEATRE OF HEROD, ATHENS 
WATERCOLOR 
62. Height, 1834 inches; length, 36% series oe ee 
A 


A RvuINED fagade of creamy and rosy-buff masonry, rosy purple in the shadowed 
parts, silhouetted against a blue sky, occupies the greater part of the com- U 
position. Commencing at the right with a wing pierced by six arched lights, it 
rears up in the center with the remains of a tower that shows two tiers of 
similarly arched openings, while a single arch surmounts the more ruined part 
beyond. The foreground is strewn with architectural débris. 


Signed and dated at the lower left, “Giauirna, ’92.” 


ANGE GIALLINA 


GREEK 


No. 66— GREEK LANDSCAPE 


va 


y y oe WATERCOLOR so (0 VW VA (Coy Oe Ae 


APPROACHING over a foreground bristling with Sees plants, is an old man 
mounted on a donkey. He is accompanied by an attendant on foot, and pre- 

ceded by a man who carries a rifle slung across his back. The latter wears a | 
scarlet cap and swathings of red and yellow round his body, while below the 

waist fans out stiffly a short pleated white skirt. In the background rises an 
impressive mass of gray rock, shaded with slaty blue. It is crowned with 
fortifications. 


Signed and dated at the lower left, “Giautina, ’92.” 


. a 
SOc as 


POS TREN 6a ee at he ee ge ee eee ari 


G. MEYER 


GERMAN 


No. 67— BIRDS OF PREY 
(Fan Shape) 
WATERCOLOR 


So = Height, 12 inches; length, 24 ms d 
VU 

Ar the left of the arc is a young lady costumed in old German fashion, i 

lavender-gray dress bordered with plum red, which is also the color of 

bodice. She is being watched by a cavalier, who stands in a sort of balcony, a 

beyond which appears a castle. Meanwhile, at the right, an unsuspecting 4 

flamingo is threatened by a falcon. : 7 


Signed at the lower right, “G. Myer.” a 


i “yr *%. 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 68— AMATEUR D’ECHECS 


WATERCOLOR 


a Height, 19% inches; width, 134, Anvhes JA fe) | 


A man, as he sits at the right of the chess-tablé pondering a move, has his “4 
hand on a white knight. He wears a crimson doublet, showing the green and ; 
yellow brocade sleeves of a tunic, loose breeches and stockings. Over the 
mantelpiece at his back a painting, flanked by pilasters, which terminate in 
Silenus figures, represents a woman, almost nude, bending a knee to welcome 
a lady as she mounts a flight of steps. 


Signed at the lower right, “Gutser. SicnNorint, Paris, 244.” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 69-— VANDALISME 


WATERCOLOR 


ca = ht ek A Height, 1934 inches; width, 144%, aoe age ( ie Gis. 
wu — ¥ f } , 
'S L. } V ui E MIAN AA. 


Aw old man in rococo costume is seated before an easel on which rests/ an 
antique painting of Madonna and Child. While his left hand grips the top of 
the frame, the right pauses on the arm of the chair, holding a brush. He is 
about to “restore” the masterpiece. A paint box and pot of brushes stand on 
a stool beside him, and some bottles of varnishes and mediums appear on the 
marble top of a table in the rear. 


Signed at the lower right, “Guiserre S1cNoninI.” 


GUISEPPE SIGNORINI 


“TTaLian (1857- ) 


No. 70— HEUREUSE RENCONTRE 
WATERCOLOR 


A Height, 2014 inches; width, 14 inches // : / /} f) 
fa a fe eee HL Ls. cc 
In a handsome corridor a lady has just alighted from a seflan chair and is 
being welcomed by an old cardinal, who stands at the left, eyeing her through 
his lorgnettes. He is habited in a rosy-scarlet cap, cape and cassock. As the 
lady turns with the left hand extended on the top of a cane, the train of her 
creamy, gold and pink silk damask gown sweeps the floor. She wears 
ruffles of lace at her elbows and neck, and a three-cornered hat, embellished with 
pink ribbons and feathers, on her shapely head. In the distance at the left 
another lady, attended by a flunkey in blue, is descending some stairs. 


Signed at the lower right, “Guiser. SicNorin1, Paris, 280.” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 71— MARCHAND DE MAJOLIQUE 


WATERCOLOR 


ys vf 47 te Height, 21%, Ga Os width, 16 i ie s © De thnger 

Wirz his left foot resting on the seat of a De. MES d the right Longer ate 
down over the Turkish carpet which falls to the floor, an Arab reclines langui 
beside some platters and a jar of iridescent majolica ware. A white cloak 
partly covers his yellow-red-black plaid turban, while the rest of his costume 
consists of a pearly-green robe striped with rose, yellow bagged trousers, 
silvery-blue stockings and red slippers. At his left is an entrance decorated 
with zig-zag designs, which admits to an inner room, where other platters 
are exposed. 


Signed at the lower right, “Guisrr. S1aNorIN1, 286.” 


CONSTANT BROCHART 


FRENCH 


No. 72— LOST IN THE SNOW 


Height, 24 inches; length, 32 inches 


Vee Paar: Ce 6 ae 


In a wild and desolate mountain scene, covered with snow, a young woman is 
seated with eyes raised to heaven, while a child kneels by her side. Meanwhile, a 
St. Bernard dog, with a barrel fastened to its neck, stands on a ledge of rock 
at the left, and a monk is seen in the rear hastening to the rescue. 


Signed at the lower right, “Constant Brocwart.” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 73— FUMEUR D’OPIUM 


WATERCOLOR 


of a £Os4 aa Height, 2314, inches; width, 16 inches Y, a 
/ Mearar 


In an Oriental interior, hung with a crimson and blue caypet, a man, eyes 
almost closed and lips ajar, is seated in an attitude of languor. His hands, 
leathery and seamed with lines, like his face, lie nerveless on the arms of the 
bench, the left one holding the mouthpiece of a hookah, which stands beside him 
on a tabouret. He is dressed in creamy-gray trousers and a black gold-em- 
broidered sleeveless robe over a greenish-yellow silk jacket. On the wall 
above his head hangs a red lustre platter decorated with a bird, while a rosy- 
copper bowl rests on the window-sill at the left, where, beyond the grille, appears 
a glimpse of blue sky. 


OU Le 


Signed at the lower right, “Guiser. Sicnorin1, Paris, 282.” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 74— SENTINELLE DE CHERIF 
WATERCOLOR 
rig Height, 26% inches; width, 18% inches ( t E 
ZL 5 iy oc 


, CET Ls 
Grounpine¢ his long musket, an Arab sentinel stands erect in front of a column, 


decorated with zig-zag design. ‘The dove-gray walls of the anteroom, embel- 
lished with a wainscot of green and blue tiles, set off the brilliance of the man’s 
costume. The latter consists of a straw hat with flaring crimson brim, up- 
turned over head-wrappings of pink and pale-blue silk, a geranium-colored 
cloak with pearly-gray lining, a pink silk embroidered jacket and full 
creamy-olive trousers, tucked into red Turkish leather boots. 


Signed at the lower right, “Guiser. StcNorin1, Paris, 203.” 


CONSTANT BROCHART 
FRENCH 
No. 75— A FLOOD 
Height, 221, inches; length, 32 inches « 
Oe aes. f) 


Ra a VON 
Tux flood pours over rocks and fallen tregé into the foreground, where a 
rudely-constructed raft is floating. On it, beside an overturned cradle, sits a 
young woman, clad only in chemise and skirt, lifting her eyes to heaven, as 
she clasps a baby on her lap, while an older child clings to her. The head 
and back of a Newfoundland dog appear above the water near the raft, and 
farther back at the right a cat has found safety on a floating barrel. 


Signed at the lower left, “Constant BrocHart.” 


GUISEPPE SIGNORINI 


ITALIAN (1857- ) 


No. 76— CADEAUX DES NOCES 


WATERCOLOR 


; Height, 261% inches; width, 191% eae Ji es 
29 O48 Ca. UF. V Cera 


Sraten in state beneath a canopy at the right, a cardinal leans forward toward 
-a young lady who bends toward him, holding a gilt rose-lined box. Mean- 
while, a gentleman behind her watches the ceremony through an eyeglass. He 
wears a blue silver-embroidered coat, vest and breeches and a pink rosette on 
his shoulder, while the lady is attired in a pearl and gold silk damask gown 
with a train. Behind the cardinal’s crimson velvet and gilt chair appears a 
large coat of arms, surmounted by a cardinal’s hat and carrying, among: other 
devices, a leopard passant on a red ground. 


Signed at the lower right, “Guiser. Stcnorin1, Paris.” 


GUISEPPE SIGNORINI 


raLiay (1857- ) 


No. tie ESCLAVES ARABES MUSICIENS 
: WATERCOLOR 
/) ff /} i] ; 
ae Z Tal Height, 27 eeeet width, 181% inches L : U ee Sp is bel 


Two musicians are grouped at the left of a flight of thre steps) which, over- / 
hung by a handsome lantern, lead into a gray interior, embellished with 
greenish-blue and gray tiles. One man stands with his foot on the lowest step, 
playing a two-stringed instrument that resembles a banjo with an elongated 
neck. He wears a wide-brimmed crimson hat and a salmon-pink robe, partly 
covered with a yellow-green velvet cloak. His companion, seated on the floor, 

is drawing a bow across the two strings of a sort of square-bodied fiddle. <A 
conspicuous feature of his costume is a handsome shawl of yellow, red and 
light blue stripes, with broad intervals of bluish-purple. 


Signed at the lower right, “Guiser. Stcnortn1, Paris, 288.” 


* 


JOHANNES BENK 


No. 78— KLYTIA 


Lirse-Sizz Reprica 1n Marsue AND Bronze OF STATUE IN Horsure THEATRE, 


Rik Go 


7 3 ae f Vy ST ~ 

he story of the lovely Klytia, as related by; Ovid, r rosetta the hapless 
maiden as deeply enamored of the Sun (Phoebus), who returns her love, and 
pays her daily visits. Aphrodite, angered at Phoebus for having betrayed 
her partiality for Mars to the other denizens of Loympus, commissions Eros 
to wound him with a fresh arrow. It is done. Phoebus sees Leukotnoe. All 
the nymphs who formerly charmed him are forgotten. Despite her unselfish 
love, Klytia too is forsaken. Jealousy and envy prompt her to disclose her 
favored rival’s secret liaison to the latter+s father. He, irritated at the dis- 
covery, buries her alive notwithstanding her entreaties and her prayers to 
Phoebus for help. The God of Day looks down upon her grave with glowing 
eye, but cannot restore his beloved to life. He pours out upon the grave 
nectar from Olympus, and forth springs into blossom the incense plant. Klytia, 
however, is utterly forgotten, and her heart is blighted at the loss of her be- 
loved. Day and night she sits disconsolate, her hair dishevelled, and her only 
sustenance being the dew. Gazing thus incessantly on Phoebus, she is at 
last transformed into a blue flower, the Helianthus. Still, even thus meta- 
morphosed, she ever bends her eyes towards Phoebus, the light of her life. 

Benk, having been commissioned to adorn the Imperial cowloir of the New 

Hofburg Theatre at Vienna with a statue typical of the love of light, selected 
as his subject Klytia, the heroine of the foregoing classic legend. Phoebus is 
allegorically represented by the electrically illuminated sunflowers on which 
Klytia gazes with tender yearning. 


VIENNA. 


JOHANNES BENK was born at Vienna, in 1844. After completing his preparatory 
studies, he entered the Vienna Fine Arts Academy, under Professor Bauer, and remained 
under his tuition until 1866. During this year he went to Dresden to study under the 
renowned artist and teacher, Haenel. Here he remained until 1869. At this period he 
produced “Rest During the Flight Into Egypt,” for which he received the Gold Medal at 
Dresden; the St. Genevieve Group, a Madonna Group, and a “Bacchus” bowl. For these he 
was awarded the large Gold Medal at the Dresden Academical Exposition. ° He next repaired 
to Rome, remaining there during the years 1871-72. His eight statues in the main porch of 
the Votive Church at Vienna, his “Austria” as the Protectress of Intellectual and Material 
Culture, the Collossal Group of the “Three Arts,” his “Cassandra,” his design for Maria 
Theresa’s Monument, and his “Four Victories” have rendered him famous throughout 
Europe. Psyche, Helios, Pallas, Athene and other works added to his renown, which is as 
great as that of any living sculptor. 

Klytia is his last and one of his finest creations. Of this replica the famous sculptor says, 
in a letter to the firm of William Schaus, that he considered it a better and more perfect 
work than the original statue. 


Evhibited af the Vienna Jubilee Exposition. 


KLYTIA 


TS REPRESENTED AND 


LIST OF ARTISTS REPRESENTED AND THEIR WORK 


CATALOGUE 
NUMBER 

BAKKER-KORFF, Atexanprer Huco 

Studies in Pen and Ink 4 
BAYNES, F. F. 

Fruit -« ll 
BENK, Joannes 

Klytia 718 
BOURGAIN, G. 

La Patrouille sur le Pont 61 
BREITSCHWERT, W. 

An Allegory of 1870 5 
BROCHART, Constant 

Lost in the Snow 12 

A Flood 15 
CACHOUD, Francois CHarLes 

Village Church, Moonlight 28 
DE CUVILLON, Roserr 

Head of a Girl 27 

Chapeau Directoire 32 

Odalisque 39 

Orientale | 48 
DE GROLIER, Mavemoisette K. E. 

Spring Flowers 40 
DE WARVILLE, Fetrx Sarurnin Brissot 

Sheep and Shepherd 2 


GIALLINA, AncE 
Acropolis, Athens 12 
The Erechtheum, Athens 13 


GIALLINA, AncE (continued) 


The Line-Wall, Corfu 
Theater of Herod, Athens 
Greek Landscape 


GIRARDIN, Pave 
A Floral Emblem 


HAMMON, Eb. 
Waiting 


IMER, E. 


Féte sur le Grand Canal 
Chateau de Blois 


KLIMSCH, Evcrn 


A Happy Home 
The Baby’s Toilettte 


KOEK-KOEK, Barenp Cornetis 
Girl Pouring Milk 


LANGRAND, J. H. - 


Evening | 
A Rocky Shore 
Near Harve 


LEVEY, H. 
Pacific Coast 


LOIR, Lutc1 


La Bail de la Mer 
Garden of the Tuileries 


McPHERSON 
On the Coast 


MEYER, G. 
Birds of Prey 


MICHAEL, L. H. 


The Parthenon in 1850 

The Forum, Rome 

Rome from Campo Vaccino 

Temple of Zeus and the Acropolis, Athens 
The Colosseum 


CATALOGUE 
NUMBER 
MURRAY, Mrs. E. 
A Lay Sister Ay 


PERKINS, Grorce 


A Quiet Resting Place 7 

An Allegory 30 
ROUSSE, C. 

Ypres 36 

Mayence 38 

West Bow, Scotland 42 

Malines (Mechlin) 49 


SALMON, Joun 
A Scottish Castle 63 


SAUNIER, Octave 


River Seine—Fishing 31 
SEITZ, L. 
The Widow’s Mite 55 


SHEFFIELD, G. 


Turnip Field 33 
Shepherd 37 


SIGNORINI, Gutsrrre 


Cardinal a St. Pierre 34 
Avant la Messe 35 
Racleur de Violon 44 
Parfums Orientaux ADS 
Restaurateur de Curiosités 46 
Atelier de Peinture 51 
La Premiére Lecon de Musique 52 
Legon de Geographie 53 
Le Message 54 
The Rehearsal 56 
Musique Egyptienne 57 
Chez l’Antiquaire 60 
Le Neveu du Cardinal 64 
Amateur d’Echecs 68 
Vandalisme 69 
Heureuse Rencontre 70 


Marchand de Majolique WI 


SIGNORINI, Guiseppe (continued) 
~ Fumeur d’Opium 
Sentinelle de Cherif — 
Cadeaux des Noces — 
Esclaves Arabes Musiciens 


SIMONS, J. 

Head and Bust of a Girl 
S. E. C. 

Pansies and Marguerites 
TOBY 


The King’s Jester 


VEDER, HeEnprix 
A Steamer Ashore 


WORTH, Tuomas 
An Argument 


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